Strange Interlude is a marathon play fusing together dialogue and thoughts spoken out loud in a unique, innovative dramatic object. This essay explores O’Neill’s ambition to represent the wholeness and fluidity of psychology, in order to investigate the ways in which this can be embodied on stage in various production styles, from the play’s initial triumph to its relative abandonment, and then to a fresh wave of interest in the 21st century, reclaiming the play as experimental ground.